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Hurrian Hymn (part of collection of Hurrian songs), inscribed in Akkadian cuneiform on clay tablets (1550-1400 BC) excavated from ancient Amorite-Canaanite city of Ugarit, northern Syria. The clay tablet text, which was discovered alongside around 30 other tablet fragments, specifies 9 lyre strings and intervals between those strings – kind of like an ancient guitar tab. But this is only hymn that could be reconstructed – although the name of the composer is now lost. The complete song is one of about 36 such hymns was is dedicated Hurrians’ goddess of the orchards Nikkal. It was discovered in 1950s, considered as the oldest surviving melody and is over 3400 years old. An account of the group of shards was first published in 1955 and 1968 by Emmanuel Laroche, who identified as parts of a single clay tablet the three fragments catalogued by field archaeologists as RS 15.30, 15.49, and 17.387. In Laroche's catalogue the hymns are designated h. (for "Hurrian") 2–17, 19–23, 25–6, 28, 30, along with smaller fragments RS. 19.164 g, j, n, o, p, r, t, w, x, y, aa, and gg. The complete hymn is h.6 in this list. A revised text of h.6 was published in 1975. Following Laroche's work, Assyriologist Anne Draffkorn Kilmer and musicologist Marcelle Duchesne-Guillemin worked together in 1970s to understand the meaning of the tablets, concluding that one tablet presented tuning methods for a Babylonian lyre, another referred to musical intervals. Tablet h.6 contains, the lyrics for a hymn to Nikkal, a Ancient Near Eastern goddess of orchards, and instructions for a singer accompanied by a nine-stringed sammûm, a type of harp or, much more likely, a lyre. The hymn was given its first modern performance in 1974, a performance of which the New York Times wrote: “This has revolutionized the whole concept of the origin of western music.” While the Hurrian hymn pre-dates several other surviving early works of music (e.g. Seikilos epitaph and Delphic Hymns) by a millennium, its transcription remains controversial. Duchesne-Guillemin's reconstruction may be heard at Urkesh webpage, though this is only one of at least five "rival decipherments of the notation, each yielding entirely different results". Text of h.6 is difficult, in part because Hurrian language itself is imperfectly understood, and in part because of small lacunae due to missing flakes of the clay tablet. In addition, however, it appears that the language is a local Ugarit dialect, which differs significantly from the dialects known from other sources. It is also possible that the pronunciation of some words was altered from normal speech because of music. Despite the many difficulties, it is clearly a religious text concerning offerings to goddess Nikkal, wife of the moon god. Text is presented in four lines, with the peculiarity that the seven final syllables of each of the first three lines on the verso of the tablet are repeated at beginning of the next line on the recto. While Laroche saw in this a procedure similar to one employed by Babylonian scribes in longer texts to provide continuity at the transition from one tablet to another, Güterbock and Kilmer took the position that this device is never found within the text on a single tablet, and so these repeated syllables must constitute refrains dividing the text into regular sections. To this, Duchesne-Guillemin retorts that the recto-verso-recto spiral path of text, an arrangement unknown in Babylon is ample reason for the use of such guides. The first published attempt to interpret the text of h.6 was made in 1977 by Hans-Jochen Thiel and his work formed the basis for a new but still very provisional attempt made 24 years later by Theo J. H. Krispijn, after Hurritology had made significant progress thanks to archaeological discoveries made in the meantime at a site near Boğazkale. 🎥© Peter Pringle (YouTube) National Museum of Damascus #archaeohistories

Archaeo - Histories

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